Thoughts on classical music in London, on the web and beyond. By Gavin Dixon.

Friday, 6 June 2014

Philharmonia, Westbroek, Dohnányi, RFH 5 June 2014

Strauss: Four Last Songs

Bruckner: Symphony No. 9

Christoph von Dohnányi: cond

Eva-Maria Westbroek: soprano

Philharmonia Orchestra

As the final, ethereal chord of the Bruckner’s great
Adagio faded to silence at the end of this evening’s concert, somebody behind
me whispered to their companion that the conductor, Christoph von Dohnányi is
84 years old. I’d never have guessed. He’s the kind of conductor who seems
eternally young, always in control and always focussing his orchestra on the
interpretation he has in mind. In fact, there were a few holes in this
evening’s performance, and in retrospect it may be fair to blame these on a lack
of vigour from the podium. In general, though, the results were serviceable, in
only rarely inspired.

In the first half, Eva-Maria Westbroek sang Strauss’ Four Last Songs. She is a real presence,
and effortlessly dominates proceedings. Her performance was very “operatic”,
her voice rich and vibrato-laden, her every phrase deliberate and emphatic. There
was much of her trademark Sieglinde here (although thankfully little of her
Anna Nicole Smith) and her grand musical gestures often seemed out of scale
with Strauss’ more intimate ideas. While everything she sang was elegant, much
of it lacked delicacy. So, for example, her pickup from the violin solo in the
third song was a sudden switch from introverted nuance to big, brassy tones.
(That impression was amplified by the sheer quality of the violin solo, from
Zsolt-Tihamér Visontay, the horn solo by Katy Wooley in the previous song also
deserves a mention). In general though, Westbroek provided a Struassian
rendition, but one that would have been more at home in Salome or Elektra than here.

The original programme for this concert
began with Leonore 3 and ended with Mahler
1. The reasons for replacing both with Bruckner 9 were not stated, and where
perhaps down to a whim of the conductor. If so, concessions can certainly be
made given his advancing years. He has some experience with Bruckner’s
symphonies, especially with the Cleveland Orchestra, but for London audiences
his relationship with this composer comes as news. His reading of the Ninth was
focussed and dynamic (not to labour the point, but impressively dynamic for his
age). It was a little rough round the edges, and not everything worked, but
there was enough great music making here to make it worthwhile. Dohnányi
had clearly focussed his rehearsal time on certain key passages, and at many of
the important structural junctures, clear lines came shining through in the
strings or woodwinds, leading the way into the following section. He adopted a
wide range of tempos, usually sticking to his guns once a section was in
progress and rarely shaping phrases with overt rubato. But accelerandos often
went from very slow to very fast in a short space of time, and the tuttis they
prepared tended to be very loud. So loud, in fact, that the players often lost
control of their tone, especially the brass section.

The Scherzo was on the fast side, and the sense of
propulsion that Dohnányi injected made up for a lack of punch in the accents.
In fact, this happened throughout the symphony, with Dohnányi looking for
weight and power from his players but never quite finding it. Some of the orchestral
playing was sloppy, especially the ensemble in the tuttis. In one, near the end
of the first movement, it sounded briefly as if the whole thing was about to
fall apart. But the quality of the playing came and went. The opening of the
Scherzo sounded reasonable the first time round, but by the time the Da Capo
came around, they had regained their form and the contrast between the two
renditions was striking.

Fortunately, the final Adagio
worked better. Dohnányi again adopted a wide range of tempos, some, but not
all, on the fast side. But now the players did everything he wanted of them,
and the unity of ensemble, especially in the strings focused and directed the
long, lyrical lines. It seemed throughout the symphony, and in the Strauss too,
that Dohnányiwas looking for a more direct and open sound
than the orchestra were used to, but in the Adagio he and they found the ideal
middle ground. And the final passages were sublime, both the flute solo and the
Wagner tuba chorale emaphatic and clear, but also nuanced and finely balanced.
The whole concert seemed to be a journey towards this point, it was just a
shame that it only really came together at the very end.

.

Gavin Dixon is a writer, journalist, editor and blogger specialising in classical music. He writes reviews and articles for a number of publications and websites. Gavin has a PhD on the Symphonies of Alfred Schnittke and is currently a Visiting Research Fellow at Goldsmiths, University of London. He is also a member of the editorial team behind the ‘Alfred Schnittke Collected Works’ edition, which recently began publication in St Petersburg. More information on Gavin’s writing activities can be found at his website: www.gavindixon.info